Alfonso transformed an existing 10,000-square-foot concrete shell into 12 individual environments that respond directly to the theory and basis of Chihuly’s art. These “dreams,” first realized in delicate watercolors by Alfonso, are transitioned by a series of deep portals. As the announcement states, “Chihuly’s glass and works on paper exist on a pathway of apertures, anticipatory views, kaleidoscopic reflections of fluid light and undulating curves.”

It continues, “The sensuous folds of the Chandelier Room trace an Alvar Aalto vase turned upside down. Brilliant Mille Fiori are displayed on an elevated oval plinth, with Romanesque beams above to herald a contemplative chapel. The Float Boat drifts on an ink black Venetian canal, a buoyant celebration of Carnevale. 100-year-old heart of pine salvaged from the Suwannee River tops metal armatures, a detailed triumvirate of steel, wood and glass. There are no barriers to the art, recessed steel troughs delineate a boundary, more intuitive than physical. The senses are engaged with aromatic cypress and the humming tips of the Blue Neon Tumbleweed. Travertine tile multiplies reflections, Macchia shadows dance on cypress walls, matte steel absorbs radiant color in soft focus.”

“The opening of the Chihuly Collection is truly one of the proudest moments of my career,” says Chihuly. “The Chihuly Collection would not be the spectacular space that it is today without the hard work, vision and dedication of my dear friend and architect Alberto Alfonso who transformed the space into a spectacular architectural environment to showcase my work.” The Seattle-based artist is credited with leading the development of complex glass sculptures and environmental art, as well as transforming the contemporary art glass movement.

Acknowledgment of the gift was made on April 28 by the Vatican’s Apostolic Nuncio, Archbishop Pietro Sambi, during a preview presentation by Kuhn and Priest of the cross at the Apostolic Nunciature (embassy) in Washington, D.C.

According to Kuhn, the Archbishop’s reaction on seeing the cross for the first time was “immediate. He got it right away.” Kuhn added that he heard the archbishop remark that he thought the Pope will be very pleased “and would want to use it in his Masses.”

In an email to friends and patrons the next day, Kuhn wrote that he was “honored and humbled” by the experience.

The cross that will be presented to Pope Benedict is the first of a variety of Kuhn crystal crosses designed and created by the artist under an agreement between Kuhn Studio and Salem Stained Glass for the marketing of Kuhn Sacred Glass. Kuhn Sacred Glass includes crystal crosses and other religious objects created by Kuhn as well as stained glass windows inset with Kuhn’s jewel-like glass that are created by Salem Stained Glass owner Al Priest and his artists.

“Over Houston” tells a story of air travel and illuminates the unique natural and urban landscape of Houston as seen from above. According to the announcement, this installation becomes a powerful art experience for travelers, encountering it as they move from one part of the airport to another, via the people mover or wide walkway.

Unique art glass techniques including sandblasting, carving, enameling, fusing and laminating were used to fabricate the 48 individual brightly colored panels that were sealed into insulating hurricane and tempered glass units.

Once the composition for each panel was completed, the components were laminated onto a bed of silicone over hurricane glass and sealed into insulating tempered glass units. The art glass panels were then shipped to Houston and installed into the existing glazing system of the connector bridge at the airport during the night to avoid interference with normal operations of the airport.

This public art commission was awarded in 2003 and installed in December of 2009. More than 4,000 hours of studio time were required to complete the project.

The installation was designed and fabricated by Jill Reynolds and Daniel Spitzer, a team of glass artists from Beacon, N.Y. Artists from across the United States submitted ideas for the $75,000 lighting commission and out of 28 applications, a panel of jurors selected Reynolds and Spitzer’s design early in 2009 based on the concept, quality and meaningful narrative.

The installation uses approximately 1,300 blown glass forms to illustrate Pittsburgh’s three rivers in three ways:

•The overhead installation depicting Pittsburgh’s three rivers – the Allegheny, the Monongahela and the Ohio – covers an estimated 1,500 square feet and is oriented in the direction of and parallel to the actual riverfront. The suspended glass globes hang from steel cables two feet from the ceiling.

•It includes approximately 1,300 individually hand blown glass forms modeled on high-speed images of water droplets. Working in collaboration with Bo Gehring, a 3-D computer modeler, an alphabet of 26 varying 3-D water droplet forms in eight shades and intensities of blue were designed. The forms were blown at Pittsburgh Glass Center and then suspended from the ceiling at 11 Stanwix in groups of threes and fours.

•The suspended glass forms are hung to create an undulating wave that represents a segment of a sound wave from the song “Diminuendo and Crescendo in Blue” by Pittsburgh jazz legend Billy Strayhorn. A segment of the sound wave was stretched on a computer with Gehring’s assistance to fit within the lobby space and filled with the vocabulary of glass elements that were designed. The forms create a four-foot thick undulating wave formation, rising and falling within a range of seven feet from the top of the wave to the bottom of the wave trough.

When it planned to update the building, RexxHall Realty LLC partnered with architecture firm EDGE Studio and Pittsburgh Glass Center to launch this project in fall

2008.

“The modern architecture of the building and the open expansive lobby seemed to demand that it contain beautiful art pieces,” says Aaron Stauber, president of RexxHall Realty. “We believe it was the intent of the architects to create an area that would showcase publicly accessible art. At the same time, we hoped it would enhance the work experience for our tenants. We were fortunate to have the Pittsburgh Glass

Center to assist us in bringing our vision into a reality.”

The Pinellas County Cultural Affairs Public Art Airport Project Selection Committee, in partnership with St. Petersburg-Clearwater International Airport, selected Kemper, who is based in Versailles, Ky., from 45 international glass artists. The Clearwater project took Kemper about three months to complete.

“I am very different from the mainstream glass movement. I use the ancient techniques of blowing glass in triple layers, called double flash, of two color flashes on a clear base. I build up layers of asphaltum as a resist, using hydrofluoric acid to etch away the layers. I do this in several steps to make the painting emerge from the glass,” explains Kemper. “My goal is to render the painting as much as possible in pure blown glass, with minimal use of glass paint.”

Kemper says he employs this method because for artwork, “glass as a material is ideally about light and a sort of ethereal energy. Not to say other techniques aren’t also valid and beautiful, but nothing can compare to blown glass for the way it refracts light and its sheer sensuousness as a material.”

He adds, “For Clearwater, I would say I worked on several levels. It’s art, it’s architectural ornament and it also addresses the psychological situation of the architectural space: the interminable security screening. What could be more soothing than hanging out at the beach?”

CLICK HERE to read more about the project.

The piece consists of more than 800 kiln-formed tiles with a saw-tooth relief. Natural light from the east-facing exterior glazing floods the mural by day and wall washers illuminate the mural by night allowing it to be seen from outside the building.

The tiles are predominately translucent with opaque glass accents and are mirrored so as to reflect the ambient light, inviting the viewer to explore its tactile and handcrafted qualities. The mural’s design was inspired by the patterns and colors of computer circuitry and the electromagnetic spectrum.

The project architect was Amenta/Emma Architects of Hartford, Conn. The art glass was commissioned by the State of Connecticut through the Department of Public Works and the Connecticut Commission on Culture & Tourism.

The American flag symbolizes national unity, resilience and strength. The memorial is built of eight stainless steel frames that encapsulate glass. Seven of the memorial’s frames are capable of rotating a full 360 degrees. Each of the rotating panels represents the life of one of the seven individuals honored in this memorial and is symbolic of our lives constantly revolving and changing.

An eighth frame remains stationary and displays an excerpt of an essay titled “During a Time of Trouble”" by James Henry Leigh Hunt:
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Within the stainless steel frames are carved dichroic glass panels. The defining characteristic of dichroic glass is its ability to transmit and reflect light, producing a variation of color, opacity and reflective qualities. Dichroic glass was chosen to serve as another symbol of change and reflection.

At the base of the structure lies a polished piece of limestone taken from the Pentagon debris. The names of the seven DIA victims are carved into the stone with the title of the memorial “United in memory – Committed to freedom.”

Classic Glass designer Jacob Robison spoke at the event explaining the memorials symbolism and significance.

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“When I was approached to design a permanent memorial for DIA’s fallen colleagues of 9/11, I felt that it was important to represent the vision and mission of the DIA community. The men and women here are committed to serving our country and its citizens. They are dedicated to defending our nation and providing its leaders with information that ensures our security,” Robison said. “With these goals in mind, I envisioned a structure that symbolized our nation’s unity and strength – a strength that the individuals we honor today represented in their devotion to their country.”

Robison added, “Designing this memorial was more than just a project to me. As a young artist it was a humbling experience to learn about the seven DIA members who were lost on 9/11, and I wanted to create something that would honor their lives and their sacrifice to our nation. I was but one person on a larger team and it is our hope that the families and friends of the victims will use this memorial to gain strength and reflect on the lives of [their] loved ones and co-workers.”

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Working with Bosa, an Italian ceramics expert in Veneto, Italy, Hayón handcrafted each of the 32 chess pieces, many of which reference specific, iconic buildings in London and their domes, towers and spires. The chess pieces are supported by a wooden base on castors so they can be moved around easily; a metal frame within the ceramic form provides stability.

The chessboard is made of mosaic glass tiles created by Italian tiling specialists, Bisazza. Elevated platforms rise above the giant tiled chessboard where players can sit in large, high-backed chairs directing their pieces around the board.

“The Tournament” was inspired by London and its history and heritage, as the Battle of Trafalgar is said to have been “organized like a chess game of naval strategy.”

“I’ve lived in London for over three years, during which time I have been able to discover the city, its history and heritage. I will be able to represent all of this using my own personal style,” says Hayón. “I really like the idea that Londoners and other visitors can come to Trafalgar Square – such a central focus of London – to wander around my installation and perhaps even take part in a game of chess.”

Ben Evans, festival director, adds, “Jaime Hayón brings a fresh energetic perspective to London and his ideas are both dynamic and witty. He was the obvious choice for such a project.”

Designed by architect Paul de Guire, the new elevator has a bold design that incorporates glass panels of 11 distinct colors resembling the oratory’s stained glass windows.

The combination of colours varies from one floor to another, with each one representing a specific area. Each floor features a dominant color to help identify that specific area.

A total of 787 glass pieces, each a different shape, were made with acid-etched, 6-mm PPG’s Starphire glass, laminated with a colored interlayer. Walker Glass from Montreal supplied the acid-etched glass in its Velour finish to fabricator Euroverre in Laval, Quebec. Euroverre then cut, polished and laminated the pieces together.

The original pattern in the decorative glass was based on the “the sheaf of wheat” symbolism. The glass shapes and the vertical and slanted framework are designed to be reminiscent of wheat stalks, a symbol of Christianity.

Two new concourses were recently constructed at Jacksonville International Airport. Huether was chosen to address the large arched windows at either end of each concourse. He created an illusion of a male traveler on one end of the concourse and a female traveler on the other end, both walking across the tarmac. The travelers are monumental, vibrant and animated, standing more than 35 feet tall. The figures are rendered in environmentally-friendly High Definition Thermal Encapsulated film. Each traveler carries a travel bag that has a map of the immediate Jacksonville area on the bag. This area has an intense color zone of dichroic coating, which fluctuates in color from red to blue to yellow, depending on the time of day and angle of viewing.

“Through the use of monumental imagery and utilizing the kinetic, color-shifting properties of dichroic glass, we’ve created Gotta Go, an art piece full of constant discovery for travelers who use the Jacksonville airport on a regular basis, ” says Huether. “This installation enhances Jacksonville’s reputation as a city where culture and the arts are vibrant and alive, where people Gotta Go.”